Byron Coley has written extensively about underground culture since the mid-70s. Known most prominently for his work for Forced Exposure in the 1980s, he has been a columnist for the L.A. Weekly, Arthur, Spin, le Bathyscaphe, Harp, and so on. He co-wrote No-Wave with Thurston Moore (2008). He has written liner notes for hundreds of records, spewed for more zines than anyone could ever remember, and contributed to various anthologies. He currently writes for The Wire, codirects the label Feeding Tube Records, and publishes Bull Tongue Review, a quarterly journal of post-rock cultural pluralism. Byron Coley's previous book for L'Oie de Cravan was the collection of his articles, C'est La Guerre: Early Writings 1978-1983 (2011).

Poems of resistance against death and the dead squares. After years of collecting and reading the stuff, Byron Coley started writing poetry in 1998 as a reaction to the death vortex seemingly surrounding everything in his life at the time. From that moment on, he wrote lots of poems, mainly published in chapbooks, broadsides, and underground magazines: all almost impossible to find. Defense Against Squares is the first major collection of Byron Coley's poetry to be published. It features odes to personal heroes such as Jack Rose, Lou Reed, and Captain Beefheart, poems against the rotten world of George Bush and words of resistance against all squares.

Maman Sauvage is the first book of poems by the artist known as Geneviève Castrée (and also as Ô Paon in music). She signs her poetry Geneviève Elverum, her real name. Rough and tender poems that translate the experience of nine months of pregnancy. Revolt, love, trust & angst, it all here in glorious french.

7 " vinyl record.
Bric-à-Brac and The small hours, two songs that are not on the vinyl pressing of the album No so deep as a welll. Words by Dorothy Parker.
First production of «Oie de Cravan Records» co-released with Feeding Tube Records. 500 copies. Sleeve hand printed by Kiva Stimac of Popolo Press. Lyrics included. Listen to Bric-à-brac :Here
"Following her acclaimed 2014 debut LP, Not So Deep As a Well (FTR 146-3LP), Montreal's Myriam Gendron has created musical settings for another pair of Dorothy Parker poems -- 'Bric a Brac' and 'The Small Hours.' The slow, sensuously beautiful combination of Myriam's voice and guitar, combined with dolorous genius of Parker's words is as intimate as ever. The pairing is seamless and natural, conveying an instant warmth that is a wonderful way to see out the winter, hailing the spring on our doorstep, with hints of the endless circle of seasons to follow. With a letterpressed sleeve and insert by the brilliant Kiva Tanya Stimac of Popolo Press, this record is a rare and special object." --Byron Coley, 2015!0 dollars + 2 dollars postal fees.

This whole book is not drawned but built in the most amazing way : using finally cut garbage bags! These bags were brought back from the Great North of Quebec where they are often used to sniff glue. Michel Hellman uses these to built incredible images of beauty and despair of the Great North.

This is the complete (almost complete) content of the Dirty Plotte fanzine. with original french and english versions (with translations). It is the new version of the D&Q book Lève ta jambe mon poisson est mort that has long been out of print but with lots more : fanzine covers and stuff.

Mostly in quebecer english, this book is the insane fire of poetry burning at it's craziest. Images and texts join here to create something quite unique but somehow remeniscent of the work of Raymond Pettibon.

There is no need to present Edgar Allan Poe (1809-1849). This book is a very unique translation of ten of his poems (the most famous one being Annabel Lee) that had been previously translated by Stéphane Mallarmé in a precious style very remote from the spirit of Poe. Alice Becker-Ho's translation is both precise and moving. The selection here and the translation are obviously haunted by the theme of the lost of the loved one, central to Poe and to the translator.

Hurrah for Shane is a desesperate prose-poem. Writen in a simple hallucinated style the book is presented here in a english-french bilingual edition.
The publisher received this text from Barcelona around 1991 from the writer whom he never met. Shane Brangan is of Irish origin and apparently has writen this text in London in 1987,